Looking for Kitty (2004)
Average Rating: 4.9/10
Reviews Counted: 19
Fresh: 7 | Rotten: 12
No consensus yet.
Average Rating: 5.1/10
Critic Reviews: 8
Fresh: 5 | Rotten: 3
No consensus yet.
Average Rating: 2.9/5
User Ratings: 13,750
Two guys with different sets of problems find themselves bonding through unexpected circumstances in this independent comedy drama from writer and director Edward Burns. Jack Stanton (Edward Burns) is a former New York City cop who has been trying to establish a new career as a private detective, though his level of success is best indicated by the fact his landlord is about to evict him for not paying the rent. Jack finally lands a paying client when he's referred to Abe Fiannico (David
May 6, 2004 Wide
Oct 24, 2006
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Sentimental yet insensate, this forgotten '04 trifle is Burns at his worst ...
Burns turns in a nicely understated performance; but it's David Krumholtz, as Abe, who's the backbone of the movie.
Looking for Kitty offers moments of striking insight amid the inevitable self-indulgence.
A disgruntled New York City private investigator forms an unlikely bond with a high school baseball coach from upstate in Edward Burns's latest exercise in maleness.
It might be the most maturely conceived role in Burns's films, but the plot around it is flimsy, the visual storytelling simpleminded, and the general ideas for character one-note.
Burns returns to the themes he knows best: old-fashioned young men trying to figure out the world and the ways of women while forging kind of unlikely friendships.
They're just too dull, and we start to sympathize with the women who left them both behind.
Burns and Numbers' David Krumholtz are very good in portraying Jack and Abe's need to re-establish a human connection.
Burns seems not nearly as engaged with his story as one would hope. And why should he be? He could write another like this before lunch.
Another unsatisfying exploration of masculine anomie written, directed by and starring Edward Burns.
Burns simply doesn't delve deeply enough into his characters for them to have sufficient emotional resonance for the viewer.
Give Edward Burns at least a little credit for perseverance, because just about any other writer-director-actor who released a movie every couple of years to critical shrugs and audience indifference would've long since hung up his megaphone.
Ends up being a bit erratic ... the whole thing culminating in an oddly unsatisfying conclusion
The real holdout is Burns, whose habitual regurgitation of well-trod themes (romantic loss, masculine bonding, and maturation) continues to pay ever-smaller dividends.
No climax, no real resolution, no nothing. One can understand why it remained on a shelf since it played Tribeca over two years ago.
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